“I know I’ve said the same thing before every major holiday over the past year,” Prime Minister Justin Trudeau said Tuesday as he asked Canadians to avoid getting together for Easter or Passover.
“But this time, what’s different is that even if the end of the pandemic is in sight, the variants mean the situation is even more serious.”
By the time Trudeau spoke, Premier John Horgan’s government already had implemented new restrictions in British Columbia after the daily COVID-19 case count in that province reached a record high. On Thursday, with new infections in Ontario exceeding 2,000 each day for the past week, Premier Doug Ford’s government followed suit. Other provinces presumably will go next, however belatedly.
This was the week the third wave’s arrival became obvious. It only remains to be seen whether this wave will be less painful than the last one — or worse.
When government responses to the pandemic are studied in the years ahead, there will be any number of questions to answer and theories to test — particularly related to preparedness and decisions made during the first four months of 2020.
We had time. Why didn’t we use it better?
But there will be important questions to ask about those second and third waves — especially since we can’t claim to have been caught by surprise.
Maybe that first wave a year ago was never going to be the end of the pandemic in Canada. But did it have to be this bad? After what we learned from the first wave, and with the time everyone had last summer to prepare, shouldn’t we have managed the second wave better? And did governments fail to bury the third wave when they had the chance?
During the second wave in Ontario last fall, Colin Furness, an epidemiologist at the University of Toronto, argued that the Ford government was approaching COVID-19 as if it were a “political problem” instead of the “public health problem” it is.
In the fog of war, it can be dangerous to draw firm conclusions. And each province responded to the pandemic in its own way. But Furness’s words offer a good place to start thinking through what happened over the last seven months.
Politics is reactive. Politicians react to public concerns and crises as they arise. Politicians also tend to seek compromises between seemingly competing interests — such as the greater public interest in curbing the spread of a deadly disease and business owners’ interest in minimizing the effects on their livelihoods.
You can’t make deals with a virus
But an optimal public health response would be proactive and uncompromising in attacking the real problem — the virus.
“A public health approach is marked by proactive, preventative action that can seem unreasonable,” Furness said in an email this week. “A political approach is marked by trying to negotiate between the wishes of the virus and the wishes of people, like having lockdowns take effect after the holidays.”
Trying to calibrate restrictions and policies to find compromises might have been futile. “We’re trying to negotiate with COVID and it’s not working,” Furness said in an interview earlier this year.
Preemptive action can be politically challenging, of course.
“The challenge with this pandemic … is that you really need to react before the problem is apparent and that politically can be really difficult,” said Ashleight Tuite, also an epidemiologist at the University of Toronto. “Asking people to make very large sacrifices when it’s not really clear what the sacrifices are being made for can be very challenging.
“It’s a continual problem in public health. Because when it’s working, you don’t see it.”
But more sweeping and faster lockdowns might have offered a greater degree of normalcy to businesses and citizens between outbreaks.
This could have been avoided
Both Tuite and Raywat Deonandan, an epidemiologist at the University of Ottawa, suggest that more could have been done last summer to bolster testing and contact tracing — investments that could have been made last summer. Deonandan also would have gone further to ban non-essential travel when concerns arose about variants that originated elsewhere.
But the larger point might be that the case counts of the current moment and the second wave were not inevitable.
“We understand enough about the virus to mitigate it. We may not be able to eliminate it completely, but we know how to control it,” Tuite said. “And so it’s really a matter of doing all the things that needed to be done. And we just didn’t do that.”
This does seem to be an exclusively Canadian problem. The line graphs for infections in Germany and France, for instance, look broadly similar; French President Emmanuel Macron just ordered a national lockdown to combat a third wave in his country.
It’s also easy to wonder whether other provinces could have emulated the success of the Atlantic provinces, which have largely kept infections low within their regional bubble. Have we allowed ourselves to accept higher levels of infection outside of that bubble?
If we go back to work out where the collective response fell short — where the pandemic was approached with a political mindset instead of a public health one — we end up talking about things like paid sick leave.
The wisdom of making it easier for people to stay home from work if they’re not feeling well is obvious. The federal government introduced a new sickness benefit last fall that those who fall ill can apply for, but it falls short of full sick leave, which would be automatic and obligatory.
Health and labour advocates have called on provinces to implement paid sick leave — something that could be particularly helpful for the people working low-income but essential jobs who seem to be suffering disproprotionately from COVID-19. But the provinces haven’t moved.
It’s easy to imagine why they might be reluctant.
Business owners struggling with the impact of the pandemic would balk at having to pay for new sick leave. Provincial governments might dread introducing a temporary program that would be politically difficult to repeal later. And the new federal program might provide a handy excuse for not doing more.
In politics, that might seem like a reasonable compromise. But once this ordeal is over, we might look back and conclude that the moment demanded more than what we thought would suffice.
Imaginations, creativity of Mountview students on display at Cariboo Art Beat
Creative, imaginative artwork of students from Mountview Elementary School will be on public display at the gallery of Cariboo Art Beat until April 9.
“The students of Mountview elementary were all invited to participate in an art contest,” Tiffany Jorgensen said, an artist at Cariboo Art Beat.
Each class was separately judged by three professional artists at Cariboo Art Beat, Jorgensen said, based on the students’ creativity, techniques, use of space and originality.
“It was extremely difficult to select pieces from the abundance of beautiful art presented,” she said. “There is so much talent and fantastic imaginations.”
The artist of each selected piece was given formal invitations to their art show to distribute to whomever they choose, and Jorgensen said anyone is free to view the beautiful artwork throughout until April 9.
Honoured at the show were works from local artists Ryker Hagen, Annika Nilsson, Rylie Trampleasure, Angus Shoults, Izabella Telford, Isabella Buchner, Kai Pare and more.
“Come view their wonderful pieces to get a glimpse into the minds of our creative youth,” Jorgensen said.
“It’s been so fun. The kids have come in and seen their work on display with their grandparents, parents, and they’re all so excited.”
Following up on the success of the Mountview art show, Jorgensen said more elementary schools have been invited to participate.
April will feature the works of Nesika and Big Lake, followed by Marie Sharpe and Chilcotin Road next month.
Cariboo Art Beat is located at 19 First Ave., under Caribou Ski Source for Sports’ entrance on Oliver Street.
Source:– Williams Lake Tribune – Williams Lake Tribune
Launching the conversation on Newfoundland and Labrador art history
ST. JOHN’S, N.L. —
“Future Possible: An Art History of Newfoundland and Labrador” is a book that has been a long time coming, Mireille Eagan says.
While working at the Confederation Centre Art Gallery in Prince Edward Island, Eagan curated an exhibition marking the 60th anniversary of Newfoundland and Labrador joining Confederation with Canada.
“As I was researching, I noticed that there was very little that existed in terms of the art history of this province,” she said. “There wasn’t even a Wikipedia article.”
Noticing this large gap, “Future Possible” was a book that needed to exist, she said.
As the 70th anniversary approached in 2019, Eagan, now living in St. John’s and working as curator of contemporary art at The Rooms, envisioned filling that gap.
Over two summers, The Rooms held a two-part exhibition. The first looked at the visual culture and visual narratives before the province joined Confederation and the second focused on 1949 onward, Eagan said.
“At its core, it was asking, what are the stories we tell ourselves as a province? It was looking at iconic artworks, it was looking at texts that have been written about this place, and it put these works in conversation with contemporary artworks,” Eagan said.
In the foreword to the book, chief executive officer of The Rooms Anne Chafe described it as a complement to the exhibition and a project that “does not seek to be the final say. It seeks, instead, to launch the conversation.”
History and identity
One example of that conversation between the past and the present mentioned by Eagan is the work of artist Bushra Junaid, who moved to St. John’s from Montreal as a baby. The daughter of a Jamaican mother and Nigerian father, Junaid said her experience growing up in the province in the 1970s, where she always the only Black child in the room, was not like most.
“All of my formative years, my schooling and everything, took place in St. John’s,” she said. “It’s very much shaped my current preoccupation.”
Her interest in history, identity and representation led her to making “Two Pretty Girls…,” which used an archival photograph of Caribbean sugarcane workers from 1903 with text from advertisements for sugar, molasses and rum from archived copies of The Evening Telegram collaged over the women’s clothing.
In her essay “Of Saltfish and Molasses” published in “Future Possible,” she described the work as “(allowing) me to place these women and their labour within the broader historical context of the international trade in commodities that underpinned Caribbean slavery and its afterlife.”
It’s a direct connection between Newfoundland and people in the Caribbean, a historical line not often drawn through the context of the transatlantic slave trade, but one she knows personally through the stories told by her mother, Adassa, about their ancestor, Sisa, who “as a teenager, survived the horrors of the Middle Passage, enduring the voyage from West Africa to Jamaica in the hold of a slave ship (Junaid).”
A book like “Future Possible” allows people to interpret themselves and their past, present and future, Junaid says.
“I appreciate the ways in which they really worked to make it as broad and diverse as possible,” she said. “It’s also striving to tell the Indigenous history of the place, the European settler history … and then also looking for … non-Western backgrounds such as myself. It’s enriching.”
What shapes us
St. John’s writer Lisa Moore contributed an essay called “Five Specimens from Another Time” that weaves together moments from her own life, the province’s history and current realities and the art that has inspired her over the years.
“It’s really interesting to me to see all this work of people that I’ve written about in the past and whose work influenced me, even in my writing of fiction, and then newer artists,” Moore said. “I just think that the book is a total gift.”
With such a rich cultural history ready to be written, she imagines “Future Possible” is just the first of what could be many books about art in the province now that the “ice is cracked.”
“The writers that (Eagan) has chosen to write here are also really exciting critics from all over the province, talking about all kind of different periods in art history,” she said.
As time passes, the meaning of the works in the book becomes richer, she said.
Mary Pratt’s 1974 “Cod Fillets on Tin Foil” and Scott Goudie’s 1991 “Muskrat Falls,” for instance, are two images with seemingly straightforward and simple subject matter. But any viewer looking now, who is aware of the cod moratorium and the Muskrat Falls hydroelectric dam, would find it difficult to see and interpret these images outside of those contexts.
“Artists, writers, filmmakers … they’re keen observers of culture and the moment that we live in,” Moore said. “They present things that are intangible like the feeling of a moment, or the culmination of social, political and esthetic powers that come together at a given time and shape us.”
“Future Possible: An Art History of Newfoundland and Labrador” is available online and in stores.
Parrott Art Gallery goes virtual to help flatten the curve – The Kingston Whig-Standard
Feeling stir crazy because of COVID and the latest lock-down? Take a virtual trip to Morocco!
On Wednesday, April 14 at 2:30 p.m., the Parrott Gallery will host Lola Reid Allin’s Armchair Traveler online presentation: “Morocco: Sea, Sand and Summit”. Allin is an accomplished photographer, pilot, writer and speaker. Travel with her through the land of dramatic contrast and hidden jewels, busy markets and medieval cities, and enjoy some virtual sun.
For more information and to register for this free online event, please visit bellevillelibrary.ca/armchair-traveller.php. The Armchair Traveller Morocco photography exhibit is also available to view through the Parrott Gallery website until mid-May.
Even though our gallery is currently closed to the public, our exhibitions are all available to view online. Sam Sakr’s show “The Housing Project” is certain to bring a smile to your face. His collection of mixed media artwork will take you to a playful land of fantastical creatures that inhabit imaginary, stylized cityscapes. If your spirit needs uplifting, you need to see to see this show. I hope that everyone will be able to view Sakr’s work both online and then in our gallery after the lock-down ends in May. Without a doubt, it will be worth the wait to see it again in-person when we re-open.
Another exhibition that you can currently visit on the Parrott Gallery website is the group show “Spring Sentiments: a Reflection of Art in Isolation”. This was a collaborative effort by the 39 artists who submitted their work, our staff who put the show together in the gallery and online, and our guest curator Jessica Turner. We are thrilled that Jessica was able to transcribe her experience with this show into a final paper for her Curatorial Studies BFA degree at OCADU.
The fact that we have had to close our doors just as this show was opening is a sad reflection of the theme as the audience must now reflect on this artwork at home, in isolation. The up-side to viewing this exhibition online is that one can read the artist statements that accompany the work and get a more in depth view of the artists’ perspectives. We encourage viewers to support our artists by sending in their comments and to vote for their favourites in the show by following the appropriate link on the webpage.
When you can’t come in to our building, the Parrott Gallery will bring the artwork to you. And then when the sun and flowers come out in May, and when it is safe to return to our gallery on the third floor of the Belleville Public Library, we hope to see you all again.
For questions about our online talk, our shows, or to purchase any of the artwork please call us at 613-968-6731 x 2040 or email us at firstname.lastname@example.org.
Wendy Rayson-Kerr is the Acting Curator at the John M. Parrott Art Gallery.
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